CC BY
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«CONCERT» BY MUSTAFA BAFOEV FOR KASHKAR RUBOB AND ORCHESTRA
Toirov A.Z.
Toirov Akbar Zoir ugli - Lecturer, DEPARTMENT OF MUSIC PEDAGOGY, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: it is safe to say that Mustafa Bafoev composed in almost all existing musical genres. Regardless of the genre of the work, he pays attention not only to its form, but also to its content. We know his works for folk instruments in various genres. Among them, the concerto written for "Kashkar R ubobi" with an orchestra is an example of a complex genre. This work occupies an important place among the works created for musical instruments in the work of M. Bafoev. The main reason why he turned to this instrument during his career is that he knows the possibilities and features of playing the unique kashkar rubobi instrument, which has its own unique timbre.
Keywords: music, art, instrument, genre, performance, concerto, meter, register, melody.
«КОНЦЕРТ» МУСТАФО БАФОЕВА ДЛЯ КАШКАРСКОГО РУБОБА С
ОРКЕСТРОМ Тоиров А.З.
Тоиров Акбар Зоируглы - преподаватель, кафедра музыкальной педагогики, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: можно с уверенностью сказать, что Мустафа Бафоев сочинял практически во всех существующих музыкальных жанрах. Независимо от жанра произведения, он обращает внимание не только на его форму, но и на содержание. Мы знаем его произведения для народных инструментов в различных жанрах. Среди них концерт, написанный для «Кашкар рубоби» с оркестром, является образцом сложного жанра. Это произведение занимает важное место среди произведений, созданных для музыкальных инструментов в творчестве М. Бафоева. Основная причина, по которой он обратился к этому инструменту во время своего творческого пути, заключается в том, что он знает возможности и особенности игры на уникальном инструменте кашкар рубоби, имеющем свой уникальный тембр. Ключевые слова: музыка, искусство, инструмент, жанр, исполнение, концерт, размер, регистр, мелодия.
With this work, Mustafa Bafoyev has shown how wide the possibilities of Kashkar Rubobi are. To perform this work, it is necessary to have high skill and tenacity, to be able to perform artistically perfectly, to develop as a skilled musician who can fully show the possibilities of the instrument.
M. Bafoyev's "Concert" for the Russian ruby and orchestra was written in the form of a sonata allegro. The work requires not only excellent performance skills, but also musical ability formed at the level of achieving a proper interpretation of the work, as mentioned above. Almost all the lines that need to be played are used in the Kashgar rubab.
There are many aspects of a concert that can be challenging for a performer. If the performer does not thoroughly prepare for this work, he will not be able to perform this work. Because, in this work, the exchange of too many numbers leads to the exclusion of the performance of the work in one performance in a performer who does not have this skill. 4/4, 3/4, 5/4, 7/8, 5/8, 4/8, 9/8, 6/8, 3/8, 6/16, 2/8 measures fluently playing a string requires the performer to have a very precise sense of rhythm.
The opening part of the work begins with a lively andante con moto e passione tempo. It begins with the rising and rising of pitches at small second intervals within two bars of the piano from the lower register to the upper register.
Fig. 1. Introduction
The performance in Kashkar rubob begins before the third measure (from the last quarter of the second measure), and the number of C notes increases every quarter with 2 accents, then 3 triplets, 4 16s, 6 sextols, 8 32s, making the piece more lively. creates the ground for improvisational development. In the next bar, 32 notes alternate with quarter accents, and through a crescendo, the melody rises to fortefortessimo (fff) and the first theme is completed.
In the Kashgar rubab, the bars are used according to the demand, although the piece starts slowly, it is performed with downward and upward beats, then in a triple bar, and the following sounds are performed in a movement that necessarily accelerates downwards and upwards.
M. Bafoyev's "Concert for Kashgar Rubobi" has a perfect artistic performance interpretation according to its structure. Therefore, it is necessary to master it carefully. In the introduction, the composer describes the "Remembrance of Qalandarlar", which he met earlier in Bukhara. The second repetition of the melody starts 0.5 tones lower. The end of the introduction consists of a small connecting cadence, rich in dynamics. This cadence briefly previews the tone of the main main part to come, and then returns to the previous position to connect to the main part.
The main part is in three-quarter time in allegretto tempo and has a waltz character. The performer should perform this part in a very soft tremolo, delicately. The melody gradually develops variations. It is this main part that is the song, and because of that, it did not fail to have its effect in this work.
The dynamics and lines of the work did not escape the attention of the composer, he even tried to enrich them. The variation development of the piece in the main part can be seen from the fact that the master plays the trio in different bars and the piano in a new style as soon as the theme changes. The main part ends in pianissimo (pp) and moves into the minor part.
Fig. 2. The main party
The auxiliary part is performed at a medium tempo, with gentle movement and soul. In this part, the performer can play the melody on the tambour bar, small tremolo, the author gave the performer freedom in this place. After the support party comes the replay party. The recycling party begins with characteristic fiery intensity and a fast pace. In this theme, we see the exchange of Kashkar rubobi and orchestra tones.
Fig. 3. Support party
The rubob theme goes to the piano, and the piano theme to the kashkar rubob in a polyphonic-index verticalis style. By connecting M. Bafoyev's processing batch with a small connecting batch, the processing of the auxiliary batch begins:
Fig. 4. Processing
As we mentioned above, due to Mustafa Bafoyev's interest in the Bukhara theme, we can hear the Mongolian tone of the Bukhara shashmaqom in this work as well. The listener may say that this part is a Uyghur ladi, but the composer re-emphasizes that this ladi is based on the Shashmaqom veil. After this party and finally comes the term. During the cadenza, the performer has to play with all his strength. It is necessary for the musician to make sure that those two notes do not join each other, that the passages come out piece by piece, and that the cadence is not divided, i.e., it is played as a whole. To perform this at a high professional level, it is necessary to undergo extensive training. The conductor should be able to show all his skills in this cadence, and at the end of the cadence, he moves to the next subject with a motto crescendo and accelrando. This theme can be called the third part or reprise of the work.
References / Список литературы
1. Alimov F. O'zbek xalq cholg'u orkestri. Toshkent, 2004.
